As a new teacher working with lower performing ELLs, I was looking for that one particular tip or strategy that would improve their fluency levels in reading. My students were borderline students and were constantly exposed to failure. Many of these students had poor reading strategies and some were too intimidated to read beyond the first few sentences. I started with the most logical starting point - the text. Many textbooks often have more texts than are needed or texts which may not be suitable in one way or another. Often, the teacher feels that it is necessary to use additional readings as supplements. When presented with a reading text, many of my students became passive. I gave them simplified exercises, easier language input, a choice of graded exercises, but this partially helped with improving their fluency levels. My goal was to choose a text that had direct consequences for building fluency. I discovered that the role of a text can facilitate with vocabulary learning and comprehension, which are the necessary ingredients for improving fluency. Tip 1 - ELLs need shorter texts with known vocabulary If there are texts or passages that initially appear too difficult for the ELLs, the teacher can facilitate fluency by reworking parts or the structure or vocabulary of the text for building active practice. As a pre-reading activity, I often encourage predictions on the text based on the target vocabulary. Tip 2 - Enhance the Visual Appearance of Texts Richard Day points out that the appearance of the reading passage (layout, print, and type size) affects readability. While many texts can be overcrowded with information and layout, which can demotivate ELLs, there are ways ELL teachers can control certain text based factors that can interfere with comprehension. Keep the number of lines to a minimum. This helps facilitate reading speed. Numbering paragraphs helps ELLs find information more quickly. Subtitling paragraph help organize content. Font should be clear and attractive. Finally, if texts are not exploitable due to their thematic, lexical, syntactic, and structural appropriateness, it may not also allow the teacher to accomplish the objectives of the reading lesson. References Day, R. R., (1994). Selecting a Passage for the EFL Reading Class. ERIC Digests. Over the years, Shakespeare has been transformed and adapted in many different ways and has come to be seen as the epitome of high art and culture. Yet many people find themselves so utterly bored or bewildered by the strange words used in traditional Shakespearean plays, leaving a few disappointed theatergoers, "The clouds methought would open and show riches / Ready to drop upon me, that when I waked / I cried to dream again" (The Tempest III.ii.130-138).
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What is the true cause of this misunderstanding and confusion? I, myself, venture to the theater hoping for some great awareness to come falling down upon me, yet I leave oblivious to the meanings of the play, meanings that go further then the famous, "To be, or not to be" of Hamlet. McWhorter confronts these issues in Word on the Street, explaining a number of different reasons as to why people explain why modern Americans cannot understand or fully appreciate Shakespeare. One argument brought forth is that Americans just don't perform Shakespearean plays like a British actor can. It is believed that English with a British accent is just simply better and more intelligible because it is in a higher standard of English. McWhorter believes, however, "that this idea stems more from the American delight in the British accent, and the lingering inferiority complex we have in relation to Europe" (91). It is quite true that Americans today view those with an English accent as the 'top-notch' of society, who best to perform such sacred pieces of art? Yet this brings up the prospect of the actor's skill, requiring a "well-honed acting technique" (92). This theory using a flick of the wrist or maybe a wily look at the audience might bring sudden comprehension. So now we've narrowed down the list of available people to perform Shakespeare: they must be British and 'well-honed'. McWhorter counters, "No amount of raised eyebrows, bell-jingling, or trained pigeons could coax "The cod-piece that will house / Before the head has any, / The head and he shall louse; / So
What is the true cause of this misunderstanding and confusion? I, myself, venture to the theater hoping for some great awareness to come falling down upon me, yet I leave oblivious to the meanings of the play, meanings that go further then the famous, "To be, or not to be" of Hamlet. McWhorter confronts these issues in Word on the Street, explaining a number of different reasons as to why people explain why modern Americans cannot understand or fully appreciate Shakespeare. One argument brought forth is that Americans just don't perform Shakespearean plays like a British actor can. It is believed that English with a British accent is just simply better and more intelligible because it is in a higher standard of English. McWhorter believes, however, "that this idea stems more from the American delight in the British accent, and the lingering inferiority complex we have in relation to Europe" (91). It is quite true that Americans today view those with an English accent as the 'top-notch' of society, who best to perform such sacred pieces of art? Yet this brings up the prospect of the actor's skill, requiring a "well-honed acting technique" (92). This theory using a flick of the wrist or maybe a wily look at the audience might bring sudden comprehension. So now we've narrowed down the list of available people to perform Shakespeare: they must be British and 'well-honed'. McWhorter counters, "No amount of raised eyebrows, bell-jingling, or trained pigeons could coax "The cod-piece that will house / Before the head has any, / The head and he shall louse; / So